Showing posts with label Aerosmith. Show all posts
Showing posts with label Aerosmith. Show all posts

The Rock and Pop 2020 Summer Auction

Featuring the personal collection of John Kalodner

June 2020

Backstage Auctions, Inc. is thrilled to announce The Rock & Pop 2020 Summer Auction featuring
The Rock and Pop 2020 Summer Auction
memorabilia from the collection of John Kalodner, American record industry A&R executive for Atlantic, Geffen and Columbia Records.

We are so super excited about this collection as there are some really amazing pieces of music history that will be featured in the auction.


As one of the industry’s true visionaries, Kalodner is rightfully credited for launching - and re-launching - the careers of Aerosmith, Cher, Foreigner, Bon Jovi, AC/DC, Journey, Asia and Whitesnake, while at the same time being closely involved with the commercial successes of John Lennon, Madonna, Jimmy Page, Van Halen, Def Leppard, Iron Maiden, Phil Collins, Peter Gabriel, Sammy Hagar, Berlin, Wang Chung, Don Henley, Jackyl, Shawn Colvin and countless others.

After his retirement from the music business in 2006, Kalodner sold his vast collection and this auction is the very first time his incredible wealth of awards, trophies and personal mementos will be made available to the general public. This once-in-a-lifetime collection consists of hundreds of authentic record awards, including rare RIAA Diamond and MTV Moonman awards, exclusive photos, autographed memorabilia, promotional items and unique photo ID laminated passes

Rounding out this not-to-miss auction event will be a dazzling presentation of artist signed guitars, rare band & crew tour shirts and jackets, as well as a host of other desirable rock & roll music memorabilia.

The Auction will go live on Saturday, June 20th and end on Sunday, June 28th! So mark the date and come feast your eyes on this truly magnificent exhibition of awesome music memorabilia. As always, there's something for everyone and there's something in every price range to make sure that no one will leave the party empty-handed.


Short Cuts: W.A.S.P., Aerosmith, Death Dealer

CD Review: W.A.S.P. – Golgotha
Napalm Records
All Access Rating: B+

W.A.S.P. - Golgotha 2015
Few could have predicted that Blackie Lawless, of all people, would find religion ... again. Unthinkable in the '80s, when he was Tipper Gore and the Parents Music Resource Center's Public Enemy No. 1 for his outlandish, unsavory stage antics and lewd, violent lyrics, Lawless has, indeed, turned back to God for salvation. And the more recent output of W.A.S.P. has reflected the change, becoming less dangerous or carnal in the process and sounding cleaner and more idealistic as it leaves behind the furious bluster and viciousness of the band's malevolent past. Not all W.A.S.P. fans have welcomed the transformation, with many leaving the flock in droves after 2009's Babylon and its predecessor Dominator. The first W.A.S.P. album in six years, Golgotha – the skull-covered site of Jesus's crucifixion undoubtedly inspiring its creepy cover art – might draw some of them back, its ominous winds blowing strong melodies across desolate landscapes. It's easy to get swept up in the gathering momentum of high-flying, melody-filled metal anthems such as "Scream," "Last Runaway" and "Shotgun," even as Lawless comes off as some pale, trilling imitation of Meatloaf in this heady rush. Overtly Christian in many of its themes, as the earnest, slow-building title track dramatically pleads, "Jesus, I need you now," the occasionally bloody Golgotha finds Lawless in a vulnerable state, the desperate, emotional ballad "Miss You" – awash in melodrama – baring his feelings of utter helplessness and the darkly melodic "Fallen Under" appealing for protection against evil hordes. In stronger voice, Lawless urges on the galloping bravado of "Slaves of the New World Order," even as leaves himself more exposed than ever on Golgotha.

CD Review: Death Dealer  Hallowed Ground
Sweden Music Group
All Access Rating: A-

Death Dealer - Hallowed Ground 2015
Still looking to eradicate "false metal" from the face of the earth, ex-Manowar and Dictators guitarist Ross The Boss resurfaced in 2013 with Death Dealer and their raging debut album Warmaster. An all-out offensive of racing rhythms, blazing solos and gnarly riffs, Warmaster put Death Dealer on the metal map, earning the newly formed outfit a spot on the upcoming Motorhead Motorboat Cruise. The band's sophomore effort, Hallowed Ground, is all those things and more, another thrilling, white-knuckle ride of aggressive, slamming speed-metal and heavy punishers reminiscent of Painkiller-era Judas Priest. The earth-shaking production is assertive and vigorous, amplified for maximum impact in brutal bangers "K.I.L.L.," "The Anthem" and a screaming banshee called "Break The Silence." Killer hooks abound, hair-raising singer Sean Peck practically devours this material and Ross The Boss and Stu Marshall let it rip on searing leads and vigorous riffs, showing off a dizzying variety of chops on "Total Devastation." Pressing down on the accelerator, the thrashing "Plan Of Attack" goes 100 miles per hour and the spirited defiance of "I Am the Revolution" should galvanize the faithful, while "Seance" infuses mystery into Death Dealer's irresistible onslaught, even if the faint whiff of cheese can be detected over the menacing din. A force to be reckoned with, Death Dealer is metal to the core and has shown everyone how it's done.

CD/DVD Review: Aerosmith  Aerosmith Rocks Donington 2014
Eagle Rock Entertainment
All Access Rating: A-

Aerosmith - Aerosmith
Rocks Donington 2014 - 2015
A massive spectacle in every sense, the Download Festival rolled out the red carpet for royalty in 2014, welcoming Aerosmith as a headlining act. These kings of sleazy, blues-infused rock 'n' roll laid down the law in an electrifying outing from the "Let Rock Rule" tour, now available as a lavish, career-spanning two CD/DVD collection titled "Aerosmith Rocks Donington 2014." Overly effusive in his praise, Rolling Stone's David Wild gushes and prattles on endlessly in colorfully photographed liner notes that serve more as a mash note to Aerosmith than anything else. On the other hand, he's not wrong about them or this powder keg of a performance, as Steven Tyler, Joe Perry, Tom Hamilton, Brad Whitford and Joey Kramer feverishly tear through a raucous, double-barreled blast of "Train Kept A-Rollin'" and "Eat The Rich" for openers, confidently strut and preen all over the full-tilt boogie of "Walk This Way" and "Same Old Song and Dance," and radiate pure energy in vibrant, crowd-pleasing renditions of "Love In An Elevator" and "Dude Looks Like A Lady." Vividly filmed in high definition, with quick-cutting, sweeping camera work shooting from unusual angles and edited so it comes up with money shots in every scene of the band in full throat, "Aerosmith Rocks Donington 2014" is a truly great concert film. And the sound is just as striking and lucid. Aerosmith is electrifying on this sparkling night, with newer fare like "Cryin'" and "Jaded" shining just as brightly and gloriously as old favorites like a savage "Sweet Emotion," the majestic "Dream On" and a rollicking "Mama Kin." Even with Tyler, ever the ring leader, narcissistically mugging for the camera at various turns and occasionally slurring his way through the words, this is vintage Aerosmith, a full-force gale onstage playing with power and passion as Perry and Whitford trade nasty licks, Kramer kicks like a mule and Hamilton acts as the anchor, his bass phrasing melodic and compelling throughout these 20 songs. Nobody should be jaded about Aerosmith.
– Peter Lindblad


Celebration of sleaze: Aerosmith's 'Toys in the Attic' hits 40

True tales behind one of rock's greatest albums
By Peter Lindblad

A photo of Aerosmith, credited to
Ross Halfin
Music writer Gordon Fletcher didn't exactly fawn over Aerosmith's Toys in the Attic in his original review for Rolling Stone magazine in 1975.

Damning the record with faint praise, Fletcher argued, "Aerosmith can be very good ... and material like 'Walk This Way,' 'Sweet Emotion' and the title cut adequately proves this."

Toys in the Attic wasn't just "very good." It's the archetypal sleaze-rock record, a timeless classic that had only one thing on its mind: Sex. It should have come with a used condom in the sleeve, as the dirty blues-rock of the Rolling Stones copulated with heavy, tumescent Led Zeppelin power all over it. Aerosmith had perfected its formula, and in so doing, stuffed a ball gag in the mouths of critics who figured they were merely counterfeits, aping everything they'd worshipped. The songs cited by Fletcher, however, gave Aerosmith its own identity, with one foot stuck in the mud of rock 'n' roll's gloriously rebellious past and the other stepping bravely into the future.

Aerosmith - Toys in the Attic
A couple of days ago, Toys in the Attic, released on April 8, 1975, turned 40, which makes it a horny cougar of an album. Aerosmith's third release, it has outsold every other studio record by the band in the U.S., going platinum eight times over in the States.

And while those kind of sales figures boggle the mind, there are a myriad of other facts and tales related to Toys in the Attic that are far more interesting. We've collected a few here:

Watch it Teddy, he's got a knife!: An open, overflowing chest full of toys and stuffed animals makes for a harmless, innocuous cover that the executives at Columbia Records must have found adorable. The original album art for Toys in the Attic was somewhat more disturbing, however. It featured a teddy bear with its wrist slashed, bleeding stuffing out all over the floor, while the other toys just stood there and looked at him, according to Steven Tyler.

Naming rights: As hard as it to believe, Toys in the Attic was almost christened as either Love at First Bite (groan) or Rocks.

Cocaine is a powerful drug: In a 2013 interview with NME, Tyler recounted how in 1975 he and the band was anxious to get their hands on a rather sizable delivery of cocaine. Joe Perry was onstage, and Tyler ran up to join him, starting a jam session between the two that resulted in "Walk This Way." You can all guess what happened to the coke.

"It's pronounced 'Fronkensteen': It was early 1975, and Aerosmith was at the Record Plant in New York City suffering from a collective case of "writer's block." They'd written three to four songs prior to heading into the studio, where they figured they'd write the rest of Toys in the Attic.

Ideas were in short supply, but they had a song that Perry had worked up in Hawaii. Trouble was, it was missing lyrics and a title. Needing a break, the boys and producer Jack Douglas went to see Mel Brooks' hit comedy "Young Frankenstein." Anybody who's seen it will readily recall the famous Marty Feldman line "walk this way," with Feldman playing a hunched over servant to Gene Wilder's Dr. Frankenstein character. Douglas reportedly thought it'd make a great title, and Tyler, upon returning to the hotel, went to work feverishly writing the lyrics, which he supposedly left in a cab the next day and lost. His bandmates were understandably suspicious, thinking Tyler hadn't actually written anything.

So, Tyler went out into a stairwell with a tape player and headphones, and pencils, but no paper. So he wrote the lyrics for "Walk This Way" on the wall at the Record Plant's top floor and down the stairway, later going back with a legal pad to copy them down.

The fast and the furious: Few guitar riffs in rock 'n' roll history are as iconic as those written by Joe Perry for "Walk This Way." It's been said that Perry knocked out the intro riff and the verse riff in five short minutes.

Under the covers: Down through the years, various songs off Toys in the Attic have been covered by other artists. One of the most surprising was R.E.M.'s 1986 rendition of the title track, used as the B-side for "Fall on Me" and then later thrown in amongst the ephemera of the alternative band's Dead Letter Office and tacked on to the 1993 reissue of Life's Rich Pageant. Metal Church also did a version for its album Masterpeace.

Others included the String Cheese Incident's version of "Walk This Way" on the jam band's eponymous 1997 live album and the Mighty Mighty Bosstones doing "Sweet Emotion" for their Where'd You Go? EP. "Sweet Emotion" has also been covered by Leo Kottke and Mike Gordon, Warrant, Ratt and The Answer, while Velvet Revolver remade "No More No More" and Sum 41 joined forces with rappers Ja Rule and Nelly to do "Walk This Way."

By the numbers: Deemed a stone-cold classic by all right-thinking people, Toys in the Attic did not rise to No. 1 on the Billboard album charts; instead, it stalled at No. 11.

"Sweet Emotion" became the band's first Top 40 single, which led to the re-release of "Dream On," from Aerosmith's self-titled debut LP. Flying up to No. 6, "Dream On" became Aerosmith's top charting song of the '70s, setting the stage for a reissue of "Walk This Way" in 1976 that sent the song into the Top 10 in early 1977.

By the mid-1980s, Aerosmith was in decline, drugs being responsible for much of the damage. Then, along came Run-D.M.C., who initially weren't keen on any sort of collaboration. Their producer, Rick Rubin, wanted it, however, and his matchmaking led to perhaps the greatest rap-rock recording in history, as their re-imagining of "Walk This Way" became a Top 4 single, earning them both a Soul Train Music Award.

Easily one of Aerosmith's most beloved songs, "Walk This Way" has been listed in the Rock and Roll Hall of Fame's "500 Songs That Shaped Rock and Roll," Rolling Stone's "500 Greatest Songs of All Time" twice – the original version checking in at No. 346 and the Run-D.M.C./Aerosmith take at No. 293 – and VH1's "100 Greatest Rock Songs," where it landed at No. 35. Rolling Stone also ranked the original "Walk This Way" at No. 34 on its list of the "100 Greatest Guitar Songs of All Time."

And there's more, but you get the gist.

The housewives of Aerosmith: "Walk This Way," the Aerosmith autobiography, spilled the dirt on tension between the wives of different band members, as did a "Behind the Music" piece on Aerosmith. Tyler has said the some of the lyrics for "Sweet Emotion" were inspired by Perry's wife.

Aerosmith is gearing up to hit the road for the "Blue Army Tour 2015," which begins June 13. All original members are onboard for the 15-city jaunt, which ends in Grand Rapids, Mich., on Aug. 4. After the tour, Aerosmith will perform Aug. 7 at Tom Benson Hall of Fame Stadium in Canton, Ohio, for the Pro Football Hall of Fame's first-ever "Concert for Legends."

Slash about to set the 'World on Fire'

New album from ex-GNR guitarist and the Conspirators due out Sept. 16

Slash Featuring Myles Kennedy &
The Conspirators - World on Fire 2014
SLASH and his bandmates Myles Kennedy and The Conspirators will release their new album WORLD ON FIRE on Sept. 16 via SLASH’s own label Dik Hayd International distributed through Caroline.

The group revealed the cover artwork for WORLD ON FIRE designed by American contemporary artist Ron English today. Featuring the blazing title track as the first single – arriving at radio Friday, June 13th   the disc marks SLASH’s third solo album and second one with his band featuring MYLES KENNEDY (vocals), BRENT FITZ (drums) and TODD KERNS (bass). (See a Q&A with SLASH and MYLES KENNEDY below)

For WORLD ON FIRE, SLASH and his band tapped Michael "Elvis" Baskette (Alter Bridge, Falling In Reverse, Incubus) to produce. Among the 17 songs is an instrumental--a powerful new turn for the band. WORLD ON FIRE is the follow-up to 2012’s Apocalyptic Love which debuted at #4 on the Billboard Top 200 chart and earned SLASH two No. 1 U.S. rock radio hits his first-ever solo--with “You’re A Lie” and “Standing In The Sun.” SLASH officially began recording as a solo artist with his self-titled 2010 debut album which employed a different vocalist on each track of his first album including Ozzy Osbourne, Fergie and Myles Kennedy among others.

Following are song titles for WORLD ON FIRE:
“World on Fire”
“Shadow Life”
“Automatic Overdrive”
“Wicked Stone”
“30 Years to Life”
“Bent to Fly”
“Stone Blind”
“Too Far Gone”
“Beneath the Savage Sun”
“Withered Delilah”
“Battleground”
“Dirty Girl”
“Iris of the Storm”
“Avalon”
“The Dissident”
“Safari Inn”
“The Unholy

SLASH and Myles Kennedy and The Conspirators have announced additional solo dates in between their summer tour with Aerosmith. The group will preview new songs for fans on the trek which kicks off Thursday, July 10 at Nikon at Jones Beach Theatre in Wantagh, NY (see the full itinerary below).  

Special ticket packages include: amazing seats (Level 1 tickets), an exclusive autographed SLASH lithograph, a digital download of the new SLASH album WORLD ON FIRE and a merchandise voucher worth $50, redeemable in the SLASH Exclusive Online Store. For all packages, visit: http://slashonline.com/tour.

Check out the exclusive behind-the-scenes documentary SLASH’s “Real To Reel” at:www.slashonline.com. The innovative online series documented the entire in-studio recording process from the first day of recording to the last; the multi-segment fly-on-the wall series follows Slash and The Conspirators from pre-production at NRG Studios in Los Angeles to Studio Barbarossa in Florida, as they write, play, create and record WORLD ON FIRE from start to finish.

Slash featuring Myles
Kennedy and the
Conspirators
SLASH and MYLES KENNEDY talk about the album and the forthcoming tour dates in this Q&A:

WORLD ON FIRE marks your second album with your band MYLES KENNEDY (vocals), BRENT FITZ (drums) and TODD KERNS (bass). How do you feel the dynamic between the four of you has evolved?
SLASH:  We had a natural chemistry from the very beginning. The longer we have been together the more it has blossomed. And because of all the touring and the different situations we have been thrown into as a band and as players, we have all subconsciously learned from that. It shows up when we’re writing and when we’re recording. It’s sort of an unsaid thing, but I can sense it. It’s a natural evolution for a bunch of musicians in a band together.
MYLES: Over the last four years we have definitely evolved into a band. Utilizing Todd's vocal prowess and Brent's ability as a multi-instrumentalist definitely highlights what the Conspirators are capable of. I feel like it adds to what Slash and I do as songwriters. Not to mention they are both a big part of the arrangement process. Todd even brought in a cool progression that we used for the verses in “Shadow Life” and he added an great intro to “The Dissident” which is really fun.

What are the biggest differences between the last album Apocalyptic Love and the new album WORLD ON FIRE?
SLASH: The biggest difference is that the band has also has naturally evolved with so much touring and all of these different things. There’s a difference in musicianship that shows on this record and the songwriting skills especially.
The other difference is the fact that we recorded both albums live, but we kept the first one (Apocalyptic Love) just live.  That was it. There was no over-dubs or layering or any kind of studio techniques.  With WORLD ON FIRE I wanted to do guitar harmonies and double up parts and just create sounds. It’s a little more produced record in that sense.
MYLES: We didn't spend as much time fine-tuning arrangements as a unit during the Apocalypticsessions.  I think that’s part of the reason this record sounds as cohesive as it does. Slash spent a lot of time with Todd and Brent working on arrangements while I was on tour with Alter Bridge late last year. When I got off the road, I met up with them in LA so they could get a feel for how the songs felt with vocals. Another difference is that Slash played all the guitars on WORLD ON FIRE. During the Apocalypticsessions I sang and played guitar which was fun, but it definitely cut into the amount of time I had to focus on lyrics, etc. Not playing guitar on WORLD ON FIRE gave me additional time to fine-tune lyrics and melodies which improved the songs in the end. I'm very happy with how it turned out.

For WORLD ON FIRE you teamed up with producer Michael "Elvis" Baskette (Alter Bridge, Falling In Reverse, Incubus). What do you feel he brought to the table?
SLASH: Elvis is very conscious about guitar and guitar tones as well as drums, bass and vocals. For me, it is important to work with somebody who is very dialed-into guitar sounds. In this particular day and age it’s a rarity to find someone who really understands guitar sounds.  Elvis is an extremely hard-worker. I consider myself a hard worker as well as Myles. He was somebody that, over the course of making the record, gave me an even more of an extra push in some moments. So he brought out the best in me as well as Myles and the drums and everything. He was a pleasure to work with.
MYLES: Elvis is brilliant. It's the fifth record I have had the pleasure of recording with him. His ability to get the best out of a rock band is pretty special. He always seems to be aware of what the fans want to hear from an artist. He did a great job documenting Slash's tone and sound. I remember the first time I heard the solo for “Battleground”--I was blown away. Elvis captured the sonic hallmarks that made Slash's playing resonate with me 25 years ago. Elvis is hands-on with every element of the recording process. From the arrangements to the final mix, he is relentless at making sure that the record is everything it should be and more.

Did you guys experiment with any new sounds with the production?
SLASH:  Yes and no. The whole record sounds new compared to the last album. Yes we did do a lot of tonal and EQ and guitars. I can’t say we were looking to break ground with new technology, because we did this to tape. But from a tonal and equalization point of view, we definitely broke a lot of new ground.
MYLES: That would be a question for Elvis or Slash. I can definitely hear some new approaches that I haven't heard on the last two records.

What makes “World on Fire” the perfect single choice?
SLASH:  I think there’s a lot of singles on the record, but it’s a good kick-off song. It’s up-tempo, aggressive, it’s a fun song. I love the whole world on fire, larger-than-life kind of vibe that the title and lyrics have.
MYLES: It's got a certain intensity and drive that made it a compelling choice for the lead-off track.

In what ways are we all suffering from a World on Fire?
SLASH: To be literal about it, we have the global warming thing. But that’s not the catalyst for the title. “World on Fire” is more of a tongue-in-cheek, positive, fun thing-- it has a lot of sexual connotations in the actual song itself. It’s a euphemism for going a little bit crazy and pulling out all the stops.
MYLES: “World On Fire” isn't necessarily a profound statement about where we are as a planet. It's about living life to the fullest....carpe diem. Some might perceive the track as carnal in nature, but the idea of seizing the moment and doing what makes you happy is the overall theme. Then again, it's not up to me to dictate what a song will mean to everyone. All I can do is tell you what was going through my head as the lyrics were being written.

What are a couple of other songs that you feel are highlights for you right now?
SLASH:  When doing a record I hate to identify with any one particular song or two particular songs. It’s not like the record is written with one great song and the rest are filler. They all mean as much as the others. There are a few songs that are very different than what we did on the last record. There’s a song called “The Unholy” which was influenced by my work in film. There’s another song called “Thirty Years to Life” which is a little bit of a departure. There’s another song that sticks out in my mind called “The Dissident” that’s a little bit unpredictable compared to stuff that people would expect from us.

You’re touring with Aerosmith this summer for the “Let Rock Rule” tour. It feels like true rock is needed more than ever in a very pop-driven landscape. How do you guys feel about this?
SLASH:  I am a Rock n’ Roll guy. The music business has become a pop-oriented sort of thing and all of the different music genres have become pop. I love the fact that I am doing Rock n’ Roll and have always done the same thing from a very heartfelt place. Aerosmith has represented that to me ever since I was kid. The two of us going out there and doing this big tour and holding that banner and doing it as sincerely as it can be done is something that I can be proud of.

MYLES: Though rock is not the force that it once was in America, it still has a loyal fan base that always seems to continue regardless of what popular culture deems as the "cool thing." It's great because you go to a rock show and you know folks aren't there because they are following trends, they aren't fair weather fans, they’re following their heart and listening to music that they love. People have been saying rock is dead for years but the reality is that it just falls out of favor with pop culture from time to time. The rock fans are still out there and that's why a tour like this is so important.

SLASH featuring Myles Kennedy and the Conspirators tour dates are as follows:

DATE

CITY
VENUE
*
Wed
9-Jul
Hampton Beach, NH
Hampton Beach Casino Ballroom

Thu
10-Jul
Wantagh, NY
Nikon at Jones Beach Theatre

Fri
11-Jul
Ottawa, ON, Canada
Ottawa Bluesfest (non-headlining)

Sun
13-Jul
Kitchener, ON, Canada
McLennan Park

Wed
16-Jul
Mansfield, MA
Xfinity Center
*
Sun
20-Jul
Northfield, OH
Hard Rock Live

Tue
22-Jul
Cincinnati, OH
Riverbend Music Center

Fri
25-Jul
Tinley Park, IL
First Midwest Bank Amphitheatre
*
Sat
26-Jul
N. Kansas City, MO
Harrah's N. Kansas City - Voodoo Lounge

Wed
30-Jul
Inglewood, CA
The Forum
*
Fri
1-Aug
Scottsdale, AZ
Talking Stick Resort & Casino - Ballroom

Sat
2-Aug
Las Vegas, NV
MGM Grand Garden Arena

Fri
8-Aug
Stateline, NV
Lake Tahoe Outdoor Arena At Harvey’s

Wed
13-Aug
Concord, CA
Sleep Train Pavilion
*
Fri
15-Aug
Coquitlam, BC, Canada
Hard Rock Casino - Vancouver

Sat
16-Aug
George, WA
The Gorge Amphitheatre

Tue
19-Aug
Denver, CO
Pepsi Center

Fri
22-Aug
Dallas, TX
American Airlines Center

Mon
25-Aug
The Woodlands, TX
The Cynthia Woods Mitchell Pavilion

Thu
28-Aug
Atlanta, GA
Phillips Arena
*
Fri
29-Aug
Hollywood, FL
Seminole Hard Rock Hotel & Casino

Sun
31-Aug
Atlantic City, NJ
Boardwalk Hall

Wed
3-Sep
Newark, NJ
Prudential Center

Sat
6-Sep
Bristow, VA
Jiffy Lube Live

Tue
9-Sep
Clarkston, MI
DTE Energy Music Theatre

Fri
12-Sep
Sydney, NS, Canada
Open Hearth Park
* Indicates Headlining Shows.


Album Review: Cactus – Live in the U.S.A./Live in Japan

Album review: Cactus – Live in the U.S.A./Live in Japan
Rocker Records LLC
All Access Rating: A-

Cactus - Live in Japan 2013
Around for only a short while in the early '70s, Cactus never quite lived up to the expectations that come with being called the "American Led Zeppelin." Still, they left their mark with a greasy. blues-infused mix of hard-hitting proto-metal and full-throttle boogie-rock that served as an archetype for the likes of AC/DC, Aerosmith, the Black Crowes, Montrose and Van Halen to follow.

Always a scintillating live act that attracted big crowds during their 1969-1972 run, despite the lack of a hit album or a smash single, Cactus was one of those bands that everybody figured called it quits too soon. And maybe they're right, considering the searing rock 'n' roll heat coming off two live releases – available separately as digital downloads from drummer Carmine Appice's new label, Rocker Records LLC – from a reunited Cactus that, sadly, did not include deceased singer Rusty Day.

Cactus - Live in the U.S.A. 2013
Revived in the mid-2000s, Cactus played B.B. King's in New York in 2006 – captured on Live in the U.S.A. – as a warm-up for their triumphant appearance at the Sweden Rock Festival. It being the first time Jim McCarty, Carmine Appice and Tim Bogert – with a new lead vocalist in tow – had performed as Cactus since 1972, Live in the U.S.A. documents their return in gloriously ragged fashion. 

It's a rough-and-tumble recording, lending a sense of closeness to a sweltering atmosphere that seems as hot and sticky as any down-South juke joint – one guy can even be heard yelling out, "I can die now." Cactus does not disappoint him. This is raw stuff, with some of the nastiest guitar licks McCarty has ever produced, as Cactus, propelled by the rhythmic rumblings of Bogert's bass and Appice's drums, struts like Mountain through "Muscle & Soul" and "Evil" with a rugged bluesy drawl that's also evident in the huffing and puffing they do in the harmonica-laced "Brother Bill." They kick out the jams with "Let Me Swim," this version sweating bullets and exploding like Zeppelin's "Rock and Roll." Expressed with the confident swagger of men who realize they have nothing left to prove to anybody, their gnarled, slowed-down readings of "Long Tall Sally" and "Rock and Roll Children" are tantalizing, allowing them to mop their brows before diving headlong into the frenzied, blustery boogie of Mose Allison's "Parchman Farms," where Cactus lets it all hang out.

Bogert had retired by the time Cactus played Japan in 2012. Pete Bremy, his replacement, fills in admirably on a Live in Japan set that has a cleaner, more professional sound, but is no less combustible. "Swim" is just as feverish here, and throughout the performance, Appice's drums are punishing, McCarty's guitars are blazing and Bogert thunders away on the bass. A little bluesier, as Cactus indulges in classy renderings of "Alaska" and Willie Dixon's "You Can't Judge a Book (By Looking at the Cover)," Live in Japan finds Cactus exploring stoner-metal moods and sounds on a particularly hazy "Electric Blue" and then gnawing on the bones of a simmering pot called "One Way or Another" that threatens to boil over but never does.

Two rollicking concerts, captured at different points in the Cactus reunification, Live in the U.S.A. and Live in Japan see this reinvigorated band, which once arose out of the ashes of Vanilla Fudge, scratching and crawling its way toward fully realizing what they set out to do. The journey isn't over.
– Peter Lindblad


Kiss, Led Zeppelin to Headline Rock and Roll Summer Classic Auction



September 1, 2013
Houston, Texas

The Rock and Roll Summer Classic Auction

Backstage Auctions is proud to present the annual Classic Rock and Roll Auction featuring over 500 auction lots which - for the most part - will be dominated by an A-list of Classic Rock bands, including KISS, Led Zeppelin, Boston, Styx, Pink Floyd, Beach Boys, The Beatles, Rolling Stones, Bruce Springsteen, David Bowie and The Who. And those are just headliners, there are plenty of classic rock bands and artists that are featured in the complete line up.

Collectors and fans will have access to autographed items, artist worn attire, RIAA record awards, rare concert posters and handbills, collectible vinyl, lots of backstage passes, unique photos, slides and negatives, amazing vintage concert t-shirts, great promotional items, tour programs and so much more.



"Any auction that features collectibles from this list of artists is a celebration of music in itself and we couldn't be more excited about hosting this event" comments Backstage Auctions owner Jacques van Gool. "The diversity in artists, type of collectibles and price range makes this auction accessible and fun for every collector. We pride ourselves in offering exclusive items and this event certainly reflects that. But we also make sure that every collector can participate and with a huge offering of auction lots that start as low as $25.00 we are confident that no one will walk away empty handed".

And when it comes to unique pieces of music history, the auction will feature a John Bonham owned and worn hat, which comes with photos and letter from the Bonham family. And that is just one of over 20 great Led Zeppelin lots.

 
There is a Robert Plant issued RIAA award, an exceedingly rare concert shirt from 1973, amazing collections of promotional CDs, broadcast only shows, ephemera as well as promotional goodies, including a most desirable Led Zeppelin blimp!

Rivaling the attention that Led Zeppelin will receive is the band with fans so loyal and dedicated that they call themselves 'The Army'...or better yet, the Kiss Army! With 210 amazing lots, Kiss certainly dominates this auction in size but then again, it wouldn't be Kiss if it wasn't larger than life. With consignments from a host of reputable inner-circle people, fans and collectors can quench their relentless thirst for top-of-the-line Kiss collectibles that include recording reels, rare vinyl and CDs, autographed items, amazing photo collections, artist worn attire, ephemera and much more. Among the highlights is a stunning acetate featuring an early demo version of the ultimate Kiss anthem 'Rock 'n Roll All Nite'.



Equally impressive are the collections of American arena rockers Styx and Boston, which both contain a wide range of autographed memorabilia, unique vinyl, exclusive promotional and radio broadcast CDs and assorted ephemera.





Collectors who are less band specific and more interest in certain types of collectibles will not be disappointed either.

There's an amazing collection of over 20 original 1968 - 1971 Fillmore East concert programs featuring the likes of The Who, Frank Zappa, Deep Purple, and many others. It even includes the very last program before Bill Graham closed the doors in New York.



The auction will feature great promotional items such as the infamous Led Zeppelin blow-up "Zeppelin", a Pink Floyd blow-up chair and a Alice Cooper toy-gun.



We managed to find great concert shirts and exclusive crew jackets, including Kiss 1977 L.A. Forum, Robert Plant & Jimmy Page 1995 U.S. Tour, Michael Jackson and Bruce Springsteen tour jackets.






There is a most unique collection of mid 1960s autographed items, photos, transparencies and negatives, which all came from the archives of a fan club agency in Los Angeles. Most of it is concentrated around the Beach Boys and Sonny & Cher but will also include other artists. It even includes a very personal letter from Brian Wilson to a fan.



And speaking of original photos, slides and negatives, collectors will have plenty to feast their eyes on. There are stunning collections with photos from renowned concert photographers Chip Rock, Robert Alford and Julian Baum. Noteworthy are the two lots with color slides from the 1975 Rolling Stones Tour of the  Americas, which include several sensational shots.



Not to be overlooked are the many posters and handbills, including vintage Thin Lizzy, ZZ Top, Kiss, Deep Purple and the immortal Stevie Ray Vaughan.


If you are in the market for record awards, you will be in for a treat; there are RIAA award for Kiss, Led Zeppelin, Aerosmith, The Beatles and Michael Jackson, as well as Canadian awards for Nickelback and Default.


Autographs remain in high demand and this auction has no shortage of signed mementos, from drumheads to posters and from photos to CDs and records. The list is long - and impressive - and spans 5 decades of Rock and Roll, that includes Led Zeppelin, Kiss, Pete Best, The Monkees, Carl Perkins, Dr. John, Styx, Boston, Kansas, Heart, Cheap Trick, Jethro Tull, Peter Frampton, Johnny Winter, ZZ Top, Ozzy Osbourne, Aerosmith and many, many others.


If you have the space for it, we once again have some great instruments and gear; from a Prince tambourine to Kiss concert used cabinets, to The Who drum sticks and even a complete Piper drum kit.




One final category that deserves attention is that of concert tickets and passes, of which the auction offers literally thousands, going back to the early 1970s. From small artist specific lots to bigger bulk lots; it's all there. But none bigger and more breath-taking than a book with over 500 backstage passes dated between 1981 and 1983. Hands down one of the most stunning single passes collections we have ever come across!


Because there is so much to see and digest, the auction will start with a preview week, beginning Saturday August 31. The auction will start Saturday,  September 7 and will end Sunday, September 15.

For more information about the auction, please visit Backstage Auctions and register for your free VIP All Access Pass.

Backstage Auctions: The 2013 Rock and Roll Summer Classic Auction



Backstage Auctions is a boutique online auction house specializing in authentic rock memorabilia representing a long list of notable and very talented musicians, producers and managers in the music industry since 2003. Exclusive online auction events have featured the private collections of legendary producer Eddie Kramer (Hendrix, Zeppelin, Kiss) and since then, we have represented Scott Ian & Charlie Benante (Anthrax), Page Hamilton (Helmet), John Tempesta (Exodus, Testament, The Cult), John 5 (Zombie, Marilyn Manson),  Ted Nugent, Howard Kaylan (The Turtles), Ross Valory (Journey) and Michael Shrieve (Santana), Rudy Sarzo (Quiet Riot, White Snake), Graham Bonnet (Rainbow, Alcatrazz), Al Jourgensen (Ministry), Johny Barbata (Jefferson Starship), Kip Winger (Winger) as well as managers of legendary bands such as The Grateful Dead, Jefferson Airplane, KISS, Journey, Joe Walsh, Ringo Starr and His All Starr Band, Motley Crue, Pantera, White Zombie and more. Backstage Auctions works closely with each of their clients and incorporates their personal stories and memories throughout the online auction event. The end result is a unique, historical and unforgettable journey spanning decades of music history.

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CD Review: Pat Travers Band – Can Do

CD Review: Pat Travers Band – Can Do
Frontiers Records
All Access Rating: B+

Pat Travers Band - Can Do 2013
Nobody’s found the switch yet to turn out the lights on Pat Travers. Approaching age 60, he can still coax beautiful melodies and electrifying power from an amplified guitar and get it to speak fluently in multiple tongues, such as powerhouse hard rock, hot funk and cool soul grooves, smoky blues and emotional balladry.

His conversations are simple and heartfelt these days, like those conducted in a dark, lonely tavern between two used-up people who don’t have the heart to lie anymore. Here’s one more for the road.

Lively, gritty and at times stylish, with spotless production, Can Do finds the Pat Travers Band talking in simple languages everybody from the hopeless romantic to the working-class slob can understand, setting hooks that have a firm grip and an easy logic. The latest studio album from the Toronto-born guitar slinger is by turns thoughtful and reflective, as the glassy serenity and breezy warmth of “Diamond Girl” and the wistful “Wanted (That was Then/This is Now)” so effectively illustrate, and vigorously defiant, shaking his fist at Father Time in rugged, driving rockers like “Stand Up/Give It Up,” “Armed and Dangerous” and “Long Time Gone,” a nod to Mountain’s “Mississippi Queen” where his clearly defined guitars are searing.

Nowhere near as explosive or as sweaty as the classic Live! Go for What You Know concert LP and somewhat reserved in parts, Can Do is still mostly a spirited romp through Travers’ past and present circumstances, as the feverish title track surges and smolders in the heat of a summer night and the sparkling “As Long As I’m With You” unabashedly wallows in the joys of a real, warts-and-all love. Reinvigorated by his new relationship with Frontiers Records, Travers brings together a band of brothers that includes bassist Rodney O’Quinn, second guitarist Kirk McKim and the prodigal drummer Sandy Gennaro on drums, and they serve the songs well.

It’s a tight unit that’s in perfect sync with Travers’ many moods, weaving wonderful harmonics together in lovely figures when the occasion calls for it and then shifting into riff-heavy rock ‘n’ roll overdrive on Travers’ command, sliding comfortably into the utterly infectious blues grooves of “Dust & Bone,” a delicious bite of tasty blues-rock Aerosmith would have given up heroin for in the ‘80s, and allowing the melodic movements of “Waitin’ on the End of Time” to breathe.

Want to hear Travers stretch out and really show the kind of diversity and creativity he’s capable of? The beguiling instrumental “Keep Calm and Carry On” explores every facet of his skillful, classy playing, displaying a deft touch, cleverly executed maneuvers and a nice warm feel that are as apparent in the quieter, softer moments as they are when volcanic eruptions explode from his instrument. Is slide guitar your thing? He can reel off steely licks in his sleep. And if you want this Canadian to channel Lynyrd Skynard and fry up some high-energy Southern rock, there’s the boisterous “Red Neck Boogie” to scratch that itch. The charms of Can Do will bloom, just not right away. Wait for it. Your patience will be rewarded. http://www.frontiers.it/

– Peter Lindblad

DVD Review: Aerosmith – Rock for the Rising Sun

DVD Review: Aerosmith – Rock for the Rising Sun
Eagle Rock Entertainment
All Access Rating: A-

Aerosmith - Rock for the Rising Sun 2013
2011 was a horrible year for Japan, what with the tsunami and all the death and destruction it wrought – not to mention the radiation bleeding out from the Fukushima nuclear plant meltdown. 

Months after the tragedy, Aerosmith, putting fears for their own safety aside, touched down in the small island nation, ready to bring the soothing balm of blues-fired, rough-and-tumble rock ‘n’ roll evangelism to a wounded people in dire need of a good time.

Aerosmith was not able to raise the dead on their “Back on the Road” Japanese tour that fall, nor could they repair the massive damage and trauma Japan suffered. They are not superheroes. They were, however, able to help out in their own small way. Doing what they do best, Aerosmith played a series of raucous, high-energy live sets that made it seem like 1977 – the first year they invaded Japan – was only yesterday, and their mission of mercy is detailed in a lively new documentary titled “Rock for the Rising Sun” that’s part life-affirming tour diary and part electrifying concert film.

The mood is celebratory and not at all subdued in barn-burning performances of rollicking classics like “Mama Kin,” “Toys in the Attic,” “Rats in the Cellar” and “Draw the Line.” Out front and as cheeky as ever, Steven Tyler struts and preens about like the screaming gypsy he’s always been, his voice full of swagger and hardly eroded by time, as Aerosmith confidently swings around “Monkey on My Back,” snarls like junkyard dogs on “Sweet Emotion” and takes a spirited, raunchy romp through “Walk This Way” as the thousands who braved the cold and snow of Sapporo to see the band roar in appreciation.

Joe Perry tears through them all with reckless abandon, giving fire-and-brimstone guitar sermons that could either save souls or send them straight to hell. His playing is inspired and passionate, flashy and mean but also full of substance and drive – see the captivating, almost hypnotic “Movin’ Out” for proof of his wicked powers. And then there’s Brad Whitford, unassuming as ever, working out deceptively tricky combinations of chords and notes in his own quiet, yet lethal, manner on a funky “Last Child,” as Joey Kramer and Tom Hamilton keep the rhythmic pot on a rolling boil throughout.

Director Casey Patrick Tebo deftly captures all the action with fluid, flowing camera work and editing, compiling a warm, vivid love letter from Aerosmith to a Japan the band fervently admires. His shots are beautifully cropped, never too tight on the individual personalities of Aerosmith but always close enough to see how they handle their instruments. And he rarely, if ever, cuts away too quickly, preferring instead to let his lenses drink it all in before slipping away to the next subject.

While the live footage is exhilarating and vibrant, with expansive, potent sound that ought to be tested for steroids, there is also a great deal of humor, heart and drama in Tebo’s film. A sobering visit to the Hiroshima Peace Memorial allows for moments of deep reflection. Tyler talks respectfully about how Japanese audiences “hang on every word and note” that Aerosmith dishes out and reveals how the song “Boogie Man” was created. And then there’s the moment where Hamilton and Tyler spar over whether to leave “Hangman Jury” in the set.

These behind-the-scenes vignettes offer a peek – and only a peek – behind the Aerosmith curtain, giving a taste of what life on tour in Japan is like for a band that isn’t getting any younger but still has an effervescent personality that draws people to them. Osaka, Kanazawa, Fukuoka, Sapporo – Aerosmith hit as many places as possible on this jaunt, and “Rock for the Rising Sun” follows them everywhere, including a knife shop where Perry spends hours looking at collectible blades. It’s hard to shake the feeling, however, that the filmmakers left a mountain of compelling material, both onstage and off, on the cutting room floor in their zeal to tie the movie up in a neat, tidy package. A trickle of bonus video showing Aerosmith barreling through “Lick and a Promise” and “One Way Street” and a booklet of colorful concert photos and sparse liner notes do not alleviate these concerns.

Understandably, Aerosmith is not as raw as they used to be, but Tyler and the boys are still ballsy and exciting, even if their shows these days are more glitzy spectacle than down-and-dirty barroom bashes. What they did for Japan was a good thing, and “Rock for the Rising Sun” is a thrilling visual scrapbook of their historic visit. (www.eaglerockent.com)
– Peter Lindblad

Metal Evolution - "Early Metal US"

Metal Evolution - "Early Metal US"
Sam Dunn
VH1 Classic


All Access Review:  B+


Back in Aerosmith’s salad days, the early- to mid-1970s to be precise, the only way a band could hit every target demographic it hoped to reach was by touring all over and then going back out on the road to do it all over again and again. Today, they call that sort of thing “viral marketing,” as Aerosmith bassist Tom Hamilton jokes in the second episode of Sam Dunn’s incisive documentary series “Metal Evolution.” Others might refer to it as “paying your dues.”

Hamilton and company had no other choice when they were starting out. Neither did KISS or anybody else of that era that possessed dreams of rock ‘n’ roll world domination. In “Early Metal US,” the road to stardom is paved not with gold, but with broken-down tour buses, empty booze bottles, smashed bongs and used condoms, and while Dunn doesn’t delve deeply into the more tawdry aspects of touring, metal’s most intrepid documentarian does manage to illustrate how important it was from a business standpoint for KISS, Aerosmith and Alice Cooper to be road warriors. To spread their hard-rock contagion, gigging incessantly was the only way to get your name out there – that is unless you happened to get lucky and score an unlikely radio hit, like Alice Cooper did with that anthem of youthful rebellion “I’m Eighteen.” Getting it played on a Toronto radio station, which transmitted the song to parts throughout the North American Midwest, was certainly a coup for a band that, up to that time, had been ignored by radio, even as their elaborate stage show, a fun house of horrific thrills and chills, garnered the kind of publicity they would have never been able to buy.

Recollections of life on the road are peppered throughout “Early Metal US,” with Hamilton providing insight into how vital it was for bands like his to knock ‘em dead every night. It was certainly no different for the face-painted KISS, whose traveling circus of a stage show – what with Gene Simmons’ blood splitting and fire breathing , Peter Criss’s levitating drum kit, and Ace Frehley’s guitar gizmos – surely did the trick as far as building up a fan base goes. However, as Frehley explains to Dunn while vintage images of KISS’s theatricality in concert go rushing past, it was recording the explosive live album, Alive!, that ultimately launched them into the stratosphere and perhaps saved them from calling it quits. Delivering the goods onstage meant everything to KISS, and bringing that same excitement to vinyl was just as crucial.

And as KISS went along, they would use any tool they could to make money, even going so far as to record a chart-topping ballad in “Beth” – Criss, laughing all the way to the bank, talks at length to Dunn about how Simmons and Stanley didn’t want to do it and did everything they could to sabotage it in the studio – and go along with the trends of the day by releasing, horror of horrors, a disco song. Meanwhile, in Boston, Aerosmith set about bringing its furious, Rolling Stones-inspired blues-rock to the masses, with a Jagger-like lead singer in Steven Tyler and a guitar slinger by the name of Joe Perry. Hamilton is open and candid about how Aerosmith took on the critics and won over the people with a rugged, rollicking sound that became electrically charged in a live setting, and Dunn is just as honest in describing Aerosmith’s fall from grace due to substance abuse.

There would be a period of malaise in hard rock before Van Halen came along to inject a little hedonistic fun and a whole lot of heavy metal testosterone into an arena-rock corpse that needed to be shocked back to life. Young and cocky, with a supernatural guitar player in Eddie Van Halen, the California foursome boasted a “big rock” aesthetic, as former bassist Michael Anthony describes it to Dunn, and their thundering drums, blazing riffage and David Lee Roth’s showmanship made rock fun again. Unfortunately, Dunn and company cut short any exploration of Van Halen’s influence rather abruptly, as if time had gotten away from them and a quick-and-dirty edit was needed to wrap things up.

On the plus side, Dunn doesn’t drop the ball in detailing the impact of surf guitar legend Dick Dale and garage-rock, especially the variety that made Detroit famous, had on heavy metal’s development. Lenny Kaye is particularly articulate and concise in his analysis of garage-rock’s influence, while Dale passionately and without artifice explains how his use of thick strings and a revamped Fender amp led to increased volume. The role Blue Cheer played in drawing the blueprints for heavy metal is explored, as well, but it’s when Dunn travels to Detroit to revisit the incendiary, scene that birthed the MC5, The Stooges and Ted Nugent’s Amboy Dukes that things really get interesting. Fiery, visceral concert footage of the MC5 kicking out the jams back in the day – some of it familiar, and some of it not so familiar – and Nugent’s wild-eyed tribute to the Wayne Kramer and the boys is something to behold. And Dunn does a fine job playing up the blue-collar influence on Detroit’s toughest, most confrontational acts, like Iggy Pop and The Stooges, with James Williamson and Scott Asheton establishing a link between the automobile industry and the bombed-out ruins of The Stooges’ drugged sonics.

As usual, Dunn and his partner Scot McFayden do a wonderful job of weaving interviews with astute, knowledgeable insiders and great period video footage – the Alice Cooper material, comprised of Q&A and live imagery, is fascinating, fully realized and visually dynamic – together to tell a story. With the exception of the short shrift given to Van Halen, the editing is superb, and Dunn’s winning personality as a tour guide and intellectual vigor as an interviewer make “Early Metal US” another strong episode. Though made of compelling stuff, the KISS segment feels a little short on depth, as does Dunn’s look at Aerosmith. But, in such an exercise, time is of the essence, and for the most part, Dunn and company make good use of it.


- Peter Lindblad

Bobby Rondinelli - The Strong Arm of Rock

Bobby Rondinelli

Rondinelli is not only a true New Yorker but a guy that has been beating the drums since he was 11 years old.  He is best known for his work with hard rock / heavy metal bands Blue Oyster Cult, Rainbow, Quiet Riot and Black Sabbath.

A few interesting facts about Rondinelli that people may not know is that Rondinelli was on the short list for replacing Peter Criss of Kiss in 1980. There were hundreds of drummers that auditioned for the spot but in the end it came down to Rondinelli and Eric Carr. The spot obviously went to Carr but Rondinelli already had a Plan B - which was joining Rainbow at the request of Ritchie Blackmore. 

Aerosmith Tour Used Maracas
Another interesting Rondinelli factoid is during the Aerosmith '82 - '83 tour "Rock in a Hard Place", Rondinelli temporarily replaced Joey Kramer while Kramer was recovering from a health issue.  Years after his gig with Aerosmith, Rondinelli cleaned out his road cases and came across a pair of maracas used during the tour by Tyler. Rumba shakers have been used by Tyler ever since the late 1970s and are most recognizable in "Sweet Emotion". The maracas / rumba shakers, which he considers to be a treasure from one of the most memorable times in his legendary career, are featured in the auction.

Rondinelli has quite a few personal treasures featured in the auction including a pair of signed sticks and a cymbal used during his time with Black Sabbath, a signed cymbal from his Blue Oyster Cult days and he has even put his personal drum kit in the auction that was used on tour and in the official "Cross Purposes" Black Sabbath live video.

The auction event, aptly titled the "Rock Gods and Metal Monsters Auction", is a not-to-miss opportunity for fans and collectors around the world to own an authentic piece of one of the most significant genres of music history. The auction, which will be held on-line at www.backstageauctions.com starts on October 31, 2010 and will run through November 7, 2010. A special preview of the entire auction catalog is available now for viewing.

Artist Links
Bobby Rondinelli Official Myspace Page